Sigit Pius and Eddi Prabandono

in “SIRKUS PENGANTIN”

Performance art that they initiated on 20 December 2006 - 15 January 2007 

Performance Art from Street to Private Space
By Agung Kurniawan

Performance art got its peak at the end of 90s. Probably, because of the political situation changing caused “free” spaces which were not had by the previous era. Suharto fascism was not allowed those spaces existed. However, this media kept growing and then achieved its peak at the end of 90s until the beginning of 2000. This media used the body as important part of its language. Body was the “cheap” and free media, which can be explored easily by every artist. Besides that, performance art offered alternative space that could be explored; street, and other public spaces. This space that cannot be taken by established and hegemonic arts; painting on canvas.

In its development, performance art became very popular, especially in the circle of activists. They used this media in each demonstration that they done, so that there were marked: it is not complete yet, if demonstration was done without happening art. After a year of exploration by activist and then politician too, some artists who used this media actively, then started to take a distance. They felt only used as tools and also objects by the politician. Then performance artist started to occupy a private space as their laboratory to investigate their media more closely. The using of this media on the street, as part of the demonstration, probably had ruined performance art only as megaphone. This mega phonic form might be necessary for short time and certain context, but as art, it’s surely need different point of view.

The “exodus” from the street to private space (gallery or certain performance space) produces a language, which is more intimate. There are no censors at the private space, so that the body can be explored more powerful. The artists are not only yelling about the human rights and oppression by the army, but also about loneliness, despair, skepticism, and other more private matters: sexuality, eroticism, and other.

The street and the private space actually produce different form and language. Private space provide artist with different ambience and environmental.

The wedding rites, performance visual art by Sigit Pius and Eddi Prabandono (KKF, 2006) more or less was born because of the situation at that time. They cut a head that was made of the mixture of pudding and other kinds of food, and then it was frozen in a freezer. Being freeze was mingled those ingredients. After, it was cut and cooked as soup, then distributed into the gallery visitors.

Saturated with the noisy noise of the street, and then their work was performed at KKF gallery. The Wedding Rite was a performance art by taking the angle of transformed body. It was an identity problem in homogenous situation. They saw the changing identity with the symbol of marriage. Marriage might be considered as a fusion of two different things into one; frequently, it is a hard thing to do.

Marriage as the symbol of identity hesitation then married is something that turns you into different person, from that situation; this can be lead into everything.
    

NEWS OF SIGIT PIUS
After so many years spent the time by myself, lately I am back doing some activities with children. Together with other friends, we are preparing “BIENNALE Anak” (Children BIENNALE) which is going to celebrate on January 2010. In this children Biennale, besides workshop and exhibition of the children works as the main agenda, My friends and I also design a market for children creativity called “DOLDOLANAN” which is the other form of GEDEBOOK!!! that had been designed by my friends and I several years ago. It’s good to have that kind of event, it’s increasing the spirit!!!

NEWS OF EDDI PRABANDONO
I was born in Pati, July 8, 1964. I studied at Graphic Department, Visual Art Faculty, Indonesian Institute of Art, Yogyakarta, in 1992 - 1998. In 1998, I participated in Nagasawa Art Park Artists and Residence held by The Japan Foundation.
Most of my works are 3 dimensional works (installation). In 1995, I was interested in using organic materials for my installations, such as seeds, especially rice seed, which I planted until it grows. During this year, I work with clay, in the form of human being or animal in very big size. And then, I plant rice on that installation. The working process is directly at the gallery.
In 2006, I collaborated with Pius Sigit Kuncoro, where we exhibited and did performance art at KKF, entitled SIRKUS PENGANTIN (WEDDING CIRCUS).
In 2009, I get a grant as the Winner of A 2009/2010 Asian Artist Fellowship, sponsored by the Freeman Foundation For the Vermont Studio Center, Johnson, Vermont, USA. The residence will hold next January 31, 2009 – March 26, 2010.